and his works, which consist of songs, elegies, pastorals, letters, and miscellaneous essays, were printed in three volumes. octavo by Dodsley. The first volume contains his poetical works, which are particularly distinguished by an amiable elegance and beautiful simplicity; the second contains his prose works; the third his letters &c.

In addition to our remarks on Gray, in the last volume, we may give a parallel drawn between him and Shenstone by Mr. Alves, who feeling indignant at the treatment inflicted on these writers by Dr. Johnson, says,

"So far am I of a different opinion, in regard to Shenstone and Gray, that I imagine no two poets in the English language are possessed of higher lyrical genius, joined to classic elegance and purity of style; that they are even among the chief ornaments of the present age; and that the English language is much indebted to them for the great beauty of their composition, as well as the true spirit of their poetry. Both of them approach to the manner of the ancients; Gray to that of Pindar and Horace; Shenstone to that of Propertius and Tibullus.

"Gray's jealousy of Shenstone was rather unworthy of him, as was Addison's of Pope; and for the same reason, for the merit of each was so conspicuous, though in different ways, as to supersede all rivalship.

"Gray excels in lyric enthusiasm, Pindaric harmonies, moralities, and in natural and sublime description.

"Shenstone's elegiac tenderness and simplicity can never be too much admired. The rural scenes he describes, intermixed with the social and benevolent affections, and all the sweet innocencies and pleasures of a country life, naturally touch the heart, and delight and inspire it with the like virtues and affections. They show him at once to have been an amiable and good man, as well as a tender and elegant poet. If, therefore, his poems do not elevate so much as Gray's, they

at

at least touch the heart more tenderly in general.

They

are addressed more particularly to the lover, the virtuoso, the man of feeling and of taste, and the patriot.

"His walks and gardens at the Leasowes seem to have been a transcript of his mind and taste for rural amusements, as Dr. Young's garden was of his religious and solemn disposition; where, in an alcove, he had this motto: Invisibilia non decipiunt, alluding to the disappointing nature of all sublunary things.

"On the other hand, Gray, with a temper more reserved and severe than Shenstone's, and a genius undoubtedly more elevated, was impelled to leave the garden and the grove, the flowery mead with the purling stream, to choose a loftier theme. And though, with the most penetrating eye, he observes the track and follows the footsteps of the Greek and Roman artists, he seems, moreover, particularly struck with the wild and prophetic spirit of the ancient minstrels and bards.

"Hence he is continually transporting us back to the ages of the Gothic mythology, heroism, and minstrelsy; and he soars, with the most sublime flights, in those airy regions that are so well suited to the serious though wild turn of his genius. This is his character in the two Pindaric Odes, and in his Norwegian imitations. Like Virgil and Horace, he is peculiarly happy in his expression: his versification, too, like theirs, is various, free, and remarkably musical; his language figurative and glowing, yet chaste and delicate: in a word, to speak in the painter's style, he possesses the sublimity of Raphael joined to the grace of Corregio."

William and John Langhorne claim a brief notice as Lyric poets of this period. They were the sons of a clergyman of Kirkby-Stephen in Westmoreland: the latter at an early period discovered a great turn for literary pursuits; but his fa-. ther being dead, and the narrowness of his circumstances not permitting him to enjoy the benefit of academical instruction, he engaged himself as domestic tutor in a family near Ripon.

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The beauties of Audley Park, in the neighbourhood, called forth his poetic talents, and he composed and published a poem with the title of that place. Soon after this he took deacon's orders, and acquired popularity as a preacher. In 1759 he undertook the office of preceptor to the sons. of Robert Cracroft, esq. of Hawthorn, near Lincoln. While in this situation he published a collection of such miscellaneous poems as he had written, for the benefit of a gentleman in distress. In the following year he took his degree of B. D. at Cambridge, and at the same time wrote a poem on the king's accession, which was printed in the University collection of verses on that occasion. He also published a poem on the royal nuptials. He is, however, particularly known on account of his Ode to Hope, and his description of the four seasons, where he pays all due compliments to Thomson and other Scotch bards. Both brothers excel in the smoothness and elegance of verse. William is more distinguished for his prose. John, in 1771, published a poetical work, possessing considerable novelty of design and imagery, entitled "Fables of Flora." The attempt to personify and give character to subjects of the vegetable creation, was dif ficult, and the poetry is frequently languid, while the author seems occasionally to struggle hard for his moral.

The work, however, from its fancy and descriptive elegance, acquired popularity. In the same year he wrote another poem entitled "The Origin of the Veil." In 1774 appeared the first part of the "Country Justice," which was greatly and justly admired for the manly strain of its sentiments, and the beauty of its descriptions. Two other parts of inferior merit were afterwards added. He continued to amuse himself and the public by writings of different kinds, the last of which was a romantic tale, entitled " Owen of Carron." He died in 1779. As a writer, he possessed facility, elegance, ingenuity, and tenderness. His poetry is generally harmonious, abounding in pleasing imagery, but overloaded with orna

ment.

Among other Lyric poets we may mention Dr. Beattie, the author of the Minstrel, celebrated as a philosopher as well

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as a poet, who was born in North Britain about the year 1735. In 1760, he became known to the world by a volume of " Original Poems and Translations." which in 1765 was followed by "The Judgement of Paris." These performances were characterized by richness and elegance of language, and melody of versification; but they perhaps rather denoted a refined taste in poetry, than a powerful and inventive genius. By the patronage and influence of the earl of Errol, he obtained the situation of professor of moral philosophy and logic in the Marischal college of Aberdeen. In this capacity he published a philosophical work, entitled "An Essay on the Nature and Immutability of Truth, in opposition to Sophistry and Scepticism." It was in the year 1771 that his fame as a poet was extended throughout the kingdom by the publication of the first part of "The Minstrel." The subject of this piece is the feigned birth and education of a poet. The term minstrel is not very happily applied to the character described; nor are the famed "Gothic days," in which he is placed, to be recognised in real history; but there is a great beauty in the delineation of the native poetical disposition assigned to him, and in the invention of circumstances by which it is nourished. The stanza is that of Spenser, which is managed with singular dexterity, and made to produce a melody of versification that is scarcely exceeded in the range of English poetry. The second part of this poem, which appeared in 1774, contains the maturer education of the young bard, and enlightens his mind with the lessons of history, philosophy, and science. It cannot be denied that there are great defects in this poem, and it has been thought that the work was left a fragment, because its plan was found to involve unavoidable incongruities: but whatever be its defects, it is on this performance that Beattie's future fame will chiefly depend, and it may be regarded as having taken secure possession of a place amidst the most approved poetry in the language. Mr. Alves, in speaking of the earlier pieces of this poet, says, his two first odes, the one to Peace, the other to Hope, are in a sublime strain, with many fine lines, and much good harmony, in the manner of Pindar. He quotes the invocation to Peace, and then

lays before the reader a picture of the grim face of War, with all its attendant horrors, havock, and confusion, which are described in strong desultory numbers, in colours perhaps somewhat too strong and glaring; and he adds, "The ode to Hope, which follows, is in a chaster style; being equally picturesque and descriptive; but more just in the colouring, and every stroke laid on with a delicate hand. It is both highly poetical and strictly natural. The ode to Retirement, The Triumph of Melancholy, and Judgement of Paris, contain many sweet lines, and are remarkable for an agreeable plaintive manner, which is strongly expressive of that love of nature, solitude, and tender melancholy, which are almost inseparable from true poetic genius."

Dr. Beattie's latter years were clouded with heavy afflictions. His eldest son James, a youth of very extraordinary endowments and uncommon moral excellence, died ot a decline in the year 1790 at the age of 22. The afflicted father had fortitude sufficient to be the editor of a small volume of the young man's compositions in verse and prose, to which he prefixed a memoir on his life and character. This grievous loss was followed in 1796 by that of his younger son, Montague, in his eighteenth year. The unhappy parent was now unable, with all his resources, to bear up under this accumulated sorrow. The latter years of his life were a blank of existence, which terminated at Aberdeen in August 1803, in the 68th year of his age.-Johnson's "Lives of the Poets."Gen. Biog. Alves's Sketches of the History of Literature. Bower's Life of Beattie,

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